On those rare occasions when I teach, I come down hard on the use of the present tense in fiction. I tell my students that it's off-putting and unnatural. I say that the past tense is the natural mode for storytelling. They look at me as if I'd just said, "Motorbuggies will never catch on."
I just three minutes ago ran across these words in Ursula K. Le Guin's collection of non-fiction, Words Are My Matter (she is reviewing a novel):
Present-tense narration is now taken for granted by many by many fiction readers because everything they read, from internet news to texting, is in the present tense, but at this great length it can be hard going. Past-tense narration easily implies previous times and extends into the vast misty reaches of the subjunctive, the conditional, the future; but the pretense of a continuous eyewitness account admits little relativity of times, little connection between events. The present tense is a narrow-beam flashlight in the dark, limiting the view to the next step -- now, now, now. No past, no future. The world of the infant, of the animal, perhaps of the immortal.
Word. The present tense has its place in fiction -- but that place is rare.
Here's the rule, and it covers all cases: Only use the present tense if there is some reason for doing so that justifies losing some of your readers and annoying others. (This rule goes double for future tense.) Otherwise, use the past tense.
Go thou, young writers, and sin no more.
And while we're at it . . .
Don't get me stared on the second person!